Saturday Night Live: Lizzo fails to add juice to a dated and terrible episode | Live Saturday night

Saturday Night Live: Lizzo fails to add juice to a dated and terrible episode | Live Saturday night

IBeing Easter weekend, Saturday Night Live opens with a message from the Easter Bunny (Bowen Yang). Almost immediately, the “weirdest” holiday character hands things over to a random assortment of public figures.

Dr. Anthony Fauci (Kate McKinnon) compares Covid cases to Jesus (“They’re Risen Again!”), While Marjorie Taylor Greene (Cecily Strong) worries that “amidst pastels and jellies, this party has become a bit ‘too LGBQRST for me. ” New York City Mayor Eric Adams (Chris Redd), boasts that he caught the Brooklyn subway killer, even though “it took 30 hours and the suspect turned himself in”, while Elon Musk (Mikey Day), try to buy the vacation. Britney Spears (Chloe Fineman) does a lot of vaulting and Jared Leto (Kyle Mooney) begs people not to review her terrible new movie Morbius.

Finally, former President Donald Trump (James Austin Johnson) stops work to ramble on Reese’s Eggs (“I like Reese, I’m very good friends with Reese …”), Cap’n Crunch (“He was very rude to me. a The 500th birthday of Count Chocula “) and that of Piccolo Cesare (” I told him to say: ‘Pizza! Pizza!’ He said it once and I said we should say it twice! “)

Aside from Austin’s Trump and Redd’s Adams, these are among the worst, most hateful, and laziest impressions in the cast’s repertoire. The writing sinks to match them on multiple fronts, from the hypocrisy of teasing (albeit lightly) Musk less than a year after the show gave him its entire platform, to Taylor Greene’s softening of portraying her as a harmless idiot. , and an attempt to do both by pointing out how useless New York law enforcement is while simultaneously parroting their topic of discussion about “crime on the rise”.

Tonight’s episode sees Lizzo perform the double duty of conductor and musical guest. The singer-songwriter promises to “break the record for the number of times you call yourself a bitch on live TV”, before discussing her recent speech by Ted on the history of twerking (“I’m like Einstein could make that ass clap his hands” ), dismissing rumors of her love life (“They think I’m collecting One Direction members like Infinity Stones”) and encouraging audiences to love each other in order to manifest their dreams. This last piece is really groan-induced – this is supposed to be a comedy show, not an affirmative post on Instagram – but Lizzo shows a good knack for comic delivery. She also seems serious about her previous promise, with Count Bitch counting eight at the end of the monologue.

Guess That is a game show where contestants have to answer rapid fire quiz questions. Things start off quite normal, until Lizzo’s contestant misses a question and hijacks the show, refusing to admit he was wrong, accusing the host of burning her and attempting to overthrow him as “Mayor of Game Town”. The latter move gets the support of her competitor colleague.

It’s a welcome spin on the game show’s usual narrative and a promising start to the actual episode, but things take an immediate swoop for the next sketch, the latest of Tik Tok’s hopelessly hideous scrolls. Rather than come up with something original, the show simply recreates – read: steals – the latest viral videos from the social media platform. Everyone involved in this should be ashamed to call themselves comedians.

Somehow, this is followed by an even worse sketch. Let’s flashback to Interscope Records Studios in Spring 2008, where the Black Eyed Peas are recording the songs for their latest album. Their producers help them brainstorm the lyrics of several singles, including the ridiculously simplistic Boom Boom Pow, the extremely random party anthem Tonight, and the highly problematic Let’s Get Retarded, which would later be changed to Let’s Get It Started.

The problems with this sketch are numerous: from the lack of narrative cohesion (the producers are worried about the bewildering lyrics one second, then ecstatic for them the second), to Lizzo’s continual breakdown, to the cowardly attempt to make it both ways by hitting the Let’s Get Retarded offensiveness jokes without actually saying the offensive lyrics (thus putting the burden completely on the audience). Beyond all of that, this sketch is about how completely stuck the show is in the past. It’s not that SNL should refrain from joking about older pop culture – one of its best sketches, after all, centered on a 24-year-old Blue Oyster Cult track – but that doesn’t bring anything original or fresh to the table. It is simply based on obvious observations and tired impressions 14 years after the expiration date.

It seems that the writer’s mind was stuck in the middle, because the next sketch finds a couple’s first date (Lizzo, Day) interrupted by a community of old dancers “from Six Flags commercials”, a piece of ephemeral pop culture that first appeared in 2004.

This is followed by a new Please Don’t Destroy segment. Ben, Martin and John attempt to help Lizzo overcome a case of writer’s block by inventing a “black woman anthem” for her to sing on the show. All they can come up with are sad “white boy anthems”, the soprano theme, one of Lizzo’s old tracks and a song about Martin’s girl who looks like Spongebob. They are about to give up when Lizzo realizes that the sketch they originally planned to show her – about a horny zookeeper – is actually a great song. As is becoming clearer, the more PDD segments rely on guest stars, the less they work, and this is still the most forgettable.

During the weekend update, the show continues to have its own cake and even eat it by teasing / kissing Elon Musk’s ass at the same time, with Michael Che saying of his failed attempt to buy Twitter to reduce his rules on free speech, “this is how badly white people want to use the N word”, Colin Jost wonders why someone who is “building electric cars [and] going to Mars “would even waste his time with such a paltry app. (A dig at Meghan Markle will surely earn Jost a lot of angry comments about that platform coming tomorrow.) In case it wasn’t clear already, any anti-bonafide establishment ever had the show has long since disappeared.

Jost finally welcomes this edition of Update’s only guest, his personal driver, Cesar Perez (Melissa Villaseñor), who wants to try out some of his cabaret material. Perez shoots a series of jokes about his nerdy, lizard-obsessed, masturbation-obsessed nephew Carlito, only to immediately succumb to remorse. His tears of apology make a kindly amusing dispatch of a specific brand of Latin Catholic guilt. That said, this segment of the character is dragged along by several extremely dated lines, this time through constant references to The Mind of Mencia.

The update closes with a tribute to the late, great alum Gilbert Gottfried, who passed away earlier this week.

Next, two party planners in ancient Egypt do a dress rehearsal for an orgy they are throwing for their crazy God-King (who ultimately turned out to be a child). Hedonistic acts hired include “sexy woman and her tender boyfriend”, a twinkish fire-eater, “old woman with rotten teeth laughing”, a trio of good-looking swingers, a staggering well-endowed fan, a brawling goat (with a real goat) and a “mischievous little devil” who is older than advertised. At first it feels like a half-formed, and the constant breakup of the cast doesn’t help matters. The live goat is however quite neat.

Then, Lizzo plays a flutist audition for the first professorship in the DeVry University Symphony Orchestra. His musical abilities are second to none, but he can only perform while twerking. That’s all there is to it. Given Lizzo’s association with the dance move, it makes sense for the show to build us a sketch, but they sure could have come up with something better than that.

The final sketch of the evening sees a group of friends celebrating one of them (Andrew Dismukes) for quitting his job to cash in on his investments. Their moral support quickly erodes once said investments are revealed to be his Beanie Babies collection. It makes sense that the episode ends with yet another tiring premise centered on a cultural phenomenon several years – decades, in this case – behind us.

Her constant breaking aside, Lizzo was an adequate host, but everything around her – from the terrifyingly open cold, to the truly awful midsection, to the uninterrupted flow of extremely dated pop culture references – was unbearable. This was by far the worst episode of the season and possibly the worst since Musk hosted nearly a year ago. (Suitable that it should appear so heavily during tonight’s show).

It’s a good thing that the show is on hold for the reminder of the month, although it’s doubtful the hiatus will do much good. At this point, Saturday Night Live not only needs a course correction, but a real soul search.

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